[et_pb_section fb_built=”1″ admin_label=”PERFORMANCES” _builder_version=”4.16″ background_color=”#ece9ea” global_colors_info=”{}”][et_pb_row admin_label=”Spotted (2014)” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text admin_label=”Spotted (2014)” _builder_version=”4.16″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_2_font=”|||on|||||” header_2_text_align=”center” header_2_text_color=”#777777″ header_3_font=”Dosis||||||||” header_3_text_align=”left” header_3_text_color=”#000000″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n
[\/et_pb_text][et_pb_image src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/06\/Spotted.jpg” title_text=”Spotted” align=”center” _builder_version=”4.16″ _module_preset=”default” animation_style=”fade” animation_duration=”2000ms” global_colors_info=”{}”][\/et_pb_image][et_pb_text admin_label=”Spotted (2014)” _builder_version=”4.16″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_3_font=”Dosis||||||||” header_3_text_align=”left” header_3_text_color=”#000000″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n
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In Spotted the bodies of the performers become overflowing containers. So oversaturated that they can no longer digest, handle, or decode the external information they receive. Everything pervades the body indiscriminately. Dazed and pervious, almost like a still life, the bodies pose questions of privacy, intimacy, alienation, and vulnerability. Spotted is an investigation of animate objects that cannot escape their existence. The performance portrays the grimaces of perfect individuality, the perversion of a world in which the winners shine with absence.<\/p>\n
The duet performance \u201cSpotted\u201d is born out of the performance \u201cBlind Spotting\u201d, a performance with an original cast of 8 dancers which premiered at the Sophiensaile theater in Berlin in june 2014<\/em>.\u00a0The \u201cBlind Spotting Performance Seri\u201c includes at this point; \u201cBlind Spotting\u201d, \u201cBlind Spotting- film version\u201d a film by Antoine Verbi\u00e8se, the duet performance \u201cSpotted\u201d, and the solo performance made for performer Angela Schubot \u201cIn the Blind Spot\u201d (2015).<\/em><\/p>\n Direction\/Choreography\/ Concept\/ Costumes:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/ Music:<\/strong> Peter Rehberg\/Set Design:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir, Andreas Harder\/Light design:<\/strong> Bj\u00f6rn Kuajara\/Performed by:<\/strong> Louise Dahl, Marie Ursin\/Production:<\/strong> Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\/Production management<\/strong>: Annie Kay Dahlstr\u00f6m\/Photography:<\/strong> David Kiers and Lasse Dahl\/ Co-Production:<\/strong> Slingan: Atalante Gothenburg, Dansstationen Malm\u00f6, MDT\/Thanks go to:<\/strong> Flutgraben Berlin Public and Private studio, Zohar Frank, Lasse Dahl.<\/p>\n <\/p>\n <\/p>\n And we wait: <\/strong>Andrew Edwards is both excruciatingly bored and enormously impressed by Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir\u2019s inertia-ridden show.<\/strong><\/p>\n The design of the work is brutally effective: a very beautiful kind of ugliness presented to us with notable precision…Throughout, I was never entertained, never distracted, but only ever trying to distract myself from the work. These are some of the work\u2019s most impressive qualities, so well executed that my distractions failed time and again…what ensures SPOTTED is an engaging piece of work, and confirms that it contributes something new to this discourse, is the exceptional affective force it possesses. Not only does it articulate this quality of inertia, but it forces its audience into that state, or perhaps opens up a space in which that state, otherwise felt as an undercurrent or a dust, overwhelms you.<\/p>\n Andrew Edwards Exeunt Magazine, 06\/05\/2017<\/em><\/p>\n <\/p>\n Breathtaking view of our times on exposure<\/strong><\/p>\n \u201cThe Icelandic choreographer Margre\u0301t Sara Gu\u00f0jo\u0301nsdo\u0301ttir, that resides in Berlin, works with phenomenal consistency. With lightness in execution, she builds to her account an unpleasant scene incorporating the gaze when working with space and time with a heart-stopping complexity evolving around themes such as identity, body and subject versus object (…)The compulsive vulnerability in the performance Spotted clings to the mind as an irritable yet great judgment of our time\u201d.<\/p>\n Anna Angstro\u0308m SvD Kultur, 24\/11\/2014<\/em><\/p>\n <\/p>\n With minimalistic precision<\/strong><\/p>\n This constant flow of information gushing over the non shielded human being comes to a point of no return\/ a turning point which creates physical and psychological stress when the exploitation works as if it is integrated on a personal level in the non shielded human being. The dansers Louise Dahl and Marie Ursin give such a strong and impressive performance that it \u0301s hard to differentiate between the artistically crafted physical work and the bigger picture of the performance. It \u0301s simply all existing there together as one.<\/p>\n Ingela Brovik, Danstidningen, 03\/12\/2014<\/em><\/p>\n [\/et_pb_text][et_pb_text admin_label=”Trailer – Full performance – Photos” _builder_version=”4.16″ text_font=”Dosis||||||||” text_text_color=”#8e8e8e” header_text_align=”center” header_text_color=”#595758″ header_3_font=”Dosis||||||||” header_3_text_align=”left” header_3_text_color=”#000000″ text_orientation=”justified” custom_margin=”|150px||150px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|15px||15px|false|false” custom_margin_last_edited=”on|phone” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/09\/SPOTTED_TRAILER.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/09\/SPOTTED_TRAILER.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/10\/spotted1.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” _builder_version=”4.22.1″ custom_margin=”|100px||100px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|10px||10px|false|false” custom_margin_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_video][et_pb_video src=”https:\/\/msgudjonsdottir.com\/videosweb\/141119_Spotted-Atalante.mp4″ src_webm=”https:\/\/msgudjonsdottir.com\/videosweb\/141119_Spotted-Atalante.mp4″ image_src=”https:\/\/msgudjonsdottir.com\/wp-content\/uploads\/2020\/10\/spotted2.jpg” thumbnail_overlay_color=”rgba(0,0,0,0.6)” disabled_on=”off|off|off” _builder_version=”4.22.1″ custom_margin=”|100px||100px|false|false” custom_margin_tablet=”|80px||80px|false|false” custom_margin_phone=”|10px||10px|false|false” custom_margin_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_video][et_pb_gallery gallery_ids=”900,427,908,906,909,910,417,915,919,923,933,931″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Spotted \u00a0 Synopsis & credits In Spotted the bodies of the performers become overflowing containers. So oversaturated that they can no longer digest, handle, or decode the external information they receive. Everything pervades the body indiscriminately. Dazed and pervious, almost like a still life, the bodies pose questions of privacy, intimacy, alienation, and vulnerability. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n Ceci est une page d\u2019exemple. C\u2019est diff\u00e9rent d\u2019un article de blog parce qu\u2019elle restera au m\u00eame endroit et appara\u00eetra dans la navigation de votre site (dans la plupart des th\u00e8mes). La plupart des gens commencent par une page \u00ab\u00a0\u00c0 propos\u00a0\u00bb qui les pr\u00e9sente aux visiteurs du site. Cela pourrait ressembler \u00e0 quelque chose comme cela\u00a0:<\/p>\r\n\r\n Bonjour\u00a0! Je suis un m\u00e9canicien qui aspire \u00e0 devenir acteur, et voici mon site. J\u2019habite \u00e0 Bordeaux, j\u2019ai un super chien baptis\u00e9 Russell, et j\u2019aime la vodka-ananas (ainsi qu\u2019\u00eatre surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).<\/p>\r\n<\/blockquote>\r\n\r\n ... ou quelque chose comme cela\u00a0:<\/p>\r\n\r\n La soci\u00e9t\u00e9 123 Machin Truc a \u00e9t\u00e9 cr\u00e9\u00e9e en 1971, et n\u2019a cess\u00e9 de proposer au public des machins-trucs de qualit\u00e9 depuis lors. Situ\u00e9e \u00e0 Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules super pour la communaut\u00e9 bouzemontoise.<\/p>\r\n<\/blockquote>\r\n\r\nReviews\u00a0\u00a0<\/strong><\/h3>\n
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Trailer – Full performance – Photos<\/strong><\/h3>\n
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